***Dave from A Sound Day has a new feature Turntable Talk…he will have an article by me today about Why the Beatles are still relevant…hope you get to read it.***
Imagine a concert in 1975 with The Beatles, Bob Dylan, Allman Brothers, Linda Ronstadt, The Rolling Stones, The Who, and more. Well, it happened! Sorta. Rod Serling did all of the radio promos. It would be one of his last projects…he would pass away before it aired.
It was a 48-hour-long rock concert (Fantasy Park) that was aired by nearly 200 radio stations over Labor Day weekend in 1975. The program, produced by KNUS in Dallas, featured performances by dozens of rock stars of the day and even reunited The Beatles. It was also completely imaginary, a theatre-of-the-mind for the 70s.
The “concert” was made up of live and studio recordings by the artists with live effects added to make it sound legit.
The show had college students hitchhiking all over America hoping to get to Fantasy Park. In New Orleans when the concert aired, the IRS came knocking on the doors of WNOE trying to attach the gate receipts to make sure the Feds got their cut! Callers were asking where they could get tickets to this amazing show.
The show was so popular in Minnesota that they played it again in its entirety the next year…now that people knew it wasn’t real and weren’t looking for tickets. The greatest concert that never was. Fantasy Park had their own emcee and special reporters covering the weekend event giving you the play-by-play details along with some behind-the-scenes updates.
The concert would always be halted due to rain on a Sunday morning to allow the locals to get in their regular (usually religious) programming and the whole event always ended promptly at 6 pm on Sunday.
Now people look for the full 48-hour tapes of the show. They are a hot collector’s item. Rod Serling passed away on June 28, 1975.
Bands at Fantasy Park
Chicago
Elton John
Led Zeppelin
Joe Walsh
Cream
Shawn Phillips
Pink Floyd
Carly Simon
James Taylor (& Carol King)
Poco
Alvin Lee
Eagles
Linda Rondstadt
Dave Mason
Steve Miller
John Denver
Beach Boys
War
Grand Funk
Yes
Deep Purple
Rolling Stones
Cat Stevens
The Who
Rolling Stones
Moody Blues
Marshall Tucker Band
Allman Brothers Band
Seals & Crofts
America
Joni Mitchell
Doobie Brothers
Loggins and Messina
Crosby/Stills/Nash/Young
Bob Dylan
Beatles
The song was the on their 1967 debut album The Piper at the Gates of Dawn…the song was released 2 months earlier as the B side to the single See Emily Play. I really like this early Pink Floyd. You can see the beginning and know where it went from here.
It’s more like a psychedelic folk song. Syd Barrett wrote the song. Barrett compares his own existence to that of the scarecrow, who, while sadder is also resigned to his fate.
The single, See Emily Play/Scarecrow peaked at #6 in the UK and #134 in the Billboard 100 in 1967.
From Wiki:
A promotional film for the song, made for a Pathé newsreel and filmed in early July 1967, features the band in an open field with a scarecrow, generally fooling around. It shows Roger Waters falling down as if he were shot, and Nick Mason exchanging his hat with the scarecrow’s.[5] Part of this film has been featured in Waters’ live performances of “Set the Controls for the Heart of the Sun”.
A second promo was filmed in 1968 in Brussels, Belgium, with David Gilmour replacing Barrett, and Waters lip-syncing while playing his Rickenbacker bass with a violin bow.
Scarecrow
The black and green scarecrow as everyone knows Stood with a bird on his hat and straw everywhere He didn’t care
He stood in a field where barley grows
His head did no thinking His arms didn’t move except when the wind cut up Rough and mice ran around on the ground
He stood in a field where barley grows
The black and green scarecrow is sadder than me But now he’s resigned to his fate ‘Cause life’s not unkind – he doesn’t mind
My journey continues into early Pink Floyd. This is a Syd Barrett contribution to the group, and the only song on the album that he wrote and sang on the album. The album was A Saucerful of Secrets that peaked at #9 in the UK and #158 in the Billboard Album Charts.
The middle part of the song was a contribution from a Salvation Army band that Barrett asked to guest on the song…he told them to play what they wanted.
The song itself has said to be Barrett’s self-diagnosis of schizophrenia, explained by the lines “I’m most obliged to you for making it clear that I’m not here” and “I wonder who could be writing this song?” This would Barrett’s last contribution to Pink Floyd. Shortly before it was released, he was kicked out of the band.
From Songfacts
Pink Floyd made a promo film for this song, which shows a seemingly depressed Barrett wandering around aimlessly, singing the song.
40 seconds to the end of the track is another “secret” song that Barrett plays guitar on, while asking “What exactly is a dream?” and “What exactly is a joke?”
The instrumental passage towards the end features a brass section which would be later explored more in Atom Heart Mother.
Jugband Blues
It’s awfully considerate of you to think of me here And I’m much obliged to you for making it clear That I’m not here And I never knew we could be so thick And I never knew the moon could be so blue And I’m grateful that you threw away my old shoes And brought me here instead dressed in red And I’m wondering who could be writing this song
I don’t care if the sun don’t shine And I don’t care if nothing is mine And I don’t care if I’m nervous with you I’ll do my loving in the winter
And the sea isn’t green And I love the queen And what exactly is a dream And what exactly is a joke
My journey through early Pink Floyd continues with this song called Bike written by Syd Barrett. It’s very British and like some of the other early songs you can hear the later Pink Floyd taking shape. This song was on the album The Piper At The Gates Of Dawn released in 1967.
The album title came from a chapter in the book Wind In The Willows, where The piper was Pan, the Greek god of music.
Barrett was 18 when he met 15-year-old Jenny Spires in 1964. They started dating the following year, which is when he wrote “Bike.” Barrett would often create artwork and poetry for Spires, and “Bike” was his version of a love song to Spires.
Pink Floyd drummer Nick Mason considers this one of Syd Barrett’s best songs.
From Songfacts
Pink Floyd guitarist Syd Barrett wrote this for his girlfriend, Jenny Spires. In the song, Syd shows her his bike, which he borrowed. He also shows her his mouse named Gerald, a clan of gingerbread men and a cloak. At the end of the song, Syd takes her to his music room.
The Piper At The Gates Of Dawn was the first Pink Floyd album and the only one dominated by Syd Barrett, who was booted from the band in 1972 when he became mentally impaired.
You’re the kind of girl that fits in with my world
I’ll give you anything, everything if you want things
Spires recalled him being “very loving.”
“The lyrics to this are so very Syd, astonishingly clever,” he told Rolling Stone. “It’s fun, but there’s a depth of sadness to them.”
Bike
I’ve got a bike, you can ride it if you like It’s got a basket, a bell that rings and Things to make it look good I’d give it to you if I could, but I borrowed it
You’re the kind of girl that fits in with my world I’ll give you anything, ev’rything if you want things
I’ve got a cloak, it’s a bit of a joke There’s a tear up the front, it’s red and black I’ve had it for months If you think it could look good, then I guess it should
You’re the kind of girl that fits in with my world I’ll give you anything, ev’rything if you want things
I know a mouse, and he hasn’t got a house I don’t know why I call him Gerald He’s getting rather old, but he’s a good mouse
You’re the kind of girl that fits in with my world I’ll give you anything, ev’rything if you want things
I’ve got a clan of gingerbread men Here a man, there a man, lots of gingerbread men Take a couple if you wish, they’re on the dish
You’re the kind of girl that fits in with my world I’ll give you anything, ev’rything if you want things
I know a room full of musical tunes Some rhyme, some ching, most of them are clockwork Let’s go into the other room and make them work
Lime and limpid green, a second scene Now fights between the blue you once knew
I’m loving this early Pink Floyd music.
This was the opening song on The Piper At The Gates Of Dawn…which was Pink Floyd’s first album; the title came from a chapter heading in The Wind In The Willows, a children’s book written by Kenneth Grahame and published in 1908.
The song was written by founding member and original band leader Syd Barrett. The song starts with some Morse Code and it turns out to be a catchy pop tune. You can hear the future of Pink Floyd in parts of this song.
In the UK, the album was a hit, reaching #6 in 1967. Pink Floyd got some attention when they toured with Jimi Hendrix in 1967.
Pink Floyd drummer Nick Mason: “This is such a great drum track in an interesting time signature. It’s a fantastic bit of ’60s philosophy mixed with a sort of psychedelic lyric.”
From Songfacts
“Astronomy” is the study of celestial bodies, and to “domineer” is to control something in an arrogant way. So “Astronomy Domine” means to control space for personal needs. This probably represents the space race between the United States of America and the Union of Soviet Socialist Republics during the Cold War era.
This was written by Syd Barrett, who was the group’s primary songwriter at the time. A founding member of Pink Floyd, his mental health started deteriorating a short time after this was released, and by 1972 he was out of the band, doing gardening instead of leading one of the foremost bands in Britain. Pink Floyd went on to far greater success without him, but the songs he wrote represent some of the more adventurous music of the era and show sparks of the genius many believe he could have become.
Oberon, Miranda and Titania” are all moons of Uranus and are also characters in Shakespeare’s plays (Oberon and Titania, King and Queen of the Fairies in A Midsummer Night’s Dream; Miranda, daughter of Prospero in The Tempest). “Titan” is the largest moon of Saturn.
Regarding the lyrics, “Stairway scare, Dan Dare, who’s there?” Dan Dare is a British science fiction comic hero created by illustrator Frank Hampson, and is referenced in this song with obvious references to Space, planets, and their moons. Syd Barrett’s guitar is also suggestive of the brass motif from “Mars, the Bringer of War” in Gustav Holst’s The Planets.
There is some Morse code at the beginning of this song, which was a way to transmit messages using a series of long and short tones. Plenty of people tried to decipher the code in this song, only to realize it was just a random series of tones with no meaning.
Astronomy Domine
Lime and limpid green, a second scene Now fights between the blue you once knew Floating down, the sound resounds Around the icy waters underground Jupiter and Saturn, Oberon, Miranda and Titania Neptune, Titan, stars can frighten
I’m continuing my education on early Pink Floyd. Love what I’m hearing. This one is so sixties that you can smell the incense.
When I first heard this I thought one thing…sixties James Bond…and there is not more cooler than that. Cool guitar riff to open this one up.
It was on Pink Floyd’s debut album The Piper at the Gates of Dawn. It was written by Syd Barrett.
This song is essentially an ode to Syd Barrett’s cat, Sam. However, it was rumored that it might refer to another man in some kind of relationship with Jenny Spires, who was Barrett’s girlfriend at the time.
In the line, ” Jennifer Gentle you’re a witch,” “Jennifer Gentile” is said to refer to Spires.
Jenny Spires
Rob Chapman, A Very Irregular Head – The Life of Syd Barrett‘Lucifer Sam’ is the odd track out on the Piper album. Neither lengthy instrumental nor three-minute fairy tale, its taut style is a throwback to the Floyd’s earlier raw R&B. ‘Lucifer Sam’ has a compact form and driving riff that would have made it a prime candidate for a single (or at least a perfectly serviceable B-side) if there hadn’t already been stronger contenders. It’s a character song like ‘Arnold Layne’ rather than a still-life study like ’The Scarecrow,’ and by Syd’s oblique standards it is specific and direct. Jenny Spires appears thinly disguised as Jennifer Gentle and although the whole thing wiffs of stoned paranoia (‘that cat’s something I can’t explain’ – it’s just a cat, Syd, there really is nothing to explain) and menacing undertones it also possesses a nimble and playful wit.
Lucifer Sam
Lucifer Sam, Siam cat Always sitting by your side Always by your side That cat’s something I can’t explain
Jennifer Gentle you’re a witch You’re the left side He’s the right side Oh, no! That cat’s something I can’t explain
Lucifer go to sea Be a hip cat, be a ship’s cat Somewhere, anywhere That cat’s something I can’t explain
At night prowling sifting sand Hiding around on the ground He’ll be found when you’re around That cat’s something I can’t explain
I’ve been listening to the Syd Barrett era of Pink Floyd and ran across this one. You can hear the later Pink Floyd in this.
This was Pink Floyd’s debut single in 1967.
Syd Barrett wrote this about a true story….a cross-dresser who he called “Arnold Layne” who used to steal bras and panties from clotheslines in Cambridge, England. Barrett lived near Roger Waters growing up. Their mothers both lost underwear to Arnold Layne.
Of course Radio London banned this song, since it was about a man who steals women’s undergarments. Surprisingly BBC played it,saying they either didn’t have a problem with this particular subject matter or didn’t understand it…probably the latter.
The song peaked at #20 in the UK in 1967.
In the promotional materials to accompany the single, the band’s record company, EMI, wrote: “Pink Floyd does not know what people mean by psychedelic pop and are not trying to cause hallucinatory effects on their audience.”
The promotional black-and-white music video displayed the band with Syd Barrett. It shows Pink Floyd goofing around with a mannequin on the beach in East Wittering, West Sussex, England in late February 1967 ahead of the song’s release the following month.
Roger Waters: ‘Both my mother and Syd’s mother had students as lodgers because there was a girl’s college up the road so there was constantly great lines of bras and knickers on our washing lines.’ In one curious incident, the bras and knickers that hung on the washing lines in the Barrett’s garden proved irresistible to a local underwear fetishist. This character, whom Barrett would later immortalize in song as Arnold Layne, made off with many of poor nursing students’ undergarments, presumably to indulge his fantasies. ‘Arnold or whoever he was, had bits and pieces off our washing lines. They never caught him. He stopped doing it after a bit, when things got too hot for him.’ ‘I was in Cambridge at the time I started to write the song,’ Syd Barrett told *Melody Maker*. ‘I pinched the line about “moonshine washing line” from Roger because he had an enormous washing line in the back garden of his house. Then I thought “Arnold must have a hobby” and it went on from there. Arnold Layne just happened to dig dressing up in women’s clothing.’
From Songfacts
The group was set to make their Top Of The Pops debut with a performance of this song in April 1967, but were dropped when it fell three places on the UK chart that week. They first appeared on the show July 6, performing “See Emily Play.”
Barrett was the group leader and an excellent songwriter, but he did a lot of drugs and lost his mind over the next year, becoming England’s first high-profile acid casualty. He was kicked out of the band the next year, replaced by David Gilmour.
Before the band came out at their shows in the late ’80s, this played while video of Pink Floyd in 1967 was shown on the giant screens.
This had a blues sound the band was known for. Pink Floyd’s name originated from Syd Barrett. His two favorite blues artists, Pink Anderson and Floyd Council, appeared to him in what he referred to as a “vision,” giving Syd the idea for the name.
The song made an unexpected appearance in the live sets of Pink Floyd guitarist David Gilmour during his 2006 tour promoting his solo album, On an Island. Later in the year, two live recordings of the song, from Gilmour’s On an Island shows at the Royal Albert Hall were released as a live single, which peaked at #19 on the UK singles chart. One version had guest vocals by David Bowie, the other by Floyd’s Richard Wright.
Arnold Layne
Arnold Layne Had a strange hobby Collecting clothes Moonshine washing line They suit him fine
On the wall Hung a tall mirror Distorted view See through baby blue He done it, oh, Arnold Layne It’s not the same, It takes two to know Two to know Two to know Two to know Why can’t you see?
Arnold Layne Arnold Layne Arnold Layne, Arnold Layne
Now he’s caught A nasty sort of person They gave him time Doors bang, chain gang He hates it Oh, Arnold Layne It’s not the same It takes two to know Two to know Two to know Two to know Why can’t you see?
Recently I’ve been listening to some early Pink Floyd. This was quite a bit different from their more famous 70s-80s output. I like what I’ve heard so far from the Syd Barret days.
Syd Barrett wrote this…he was one of the band’s original members and the group’s leader. He became very unpredictable, sometimes refusing to play at shows.
Barrett claimed “Emily” was a girl he saw when he woke up one night after sleeping in the woods after a gig. It is unclear if she was a real person or a drug-induced hallucination.
David Gilmour was asked by the members of Pink Floyd to join the band to supplement the guitar work of the increasingly erratic Syd Barrett. For a brief time, Syd and David were both members of Pink Floyd at the same time. When Barrett’s mental breakdown made it impossible for him to continue with the group, Gilmour became a permanent, contributing member in time for their second album, 1968’s A Saucerful of Secrets. Syd Barrett contributed one track to that album, his last with Pink Floyd. Syd departed the band soon after that.
The song peaked at #6 in the UK, #134 in Billboard, and #25 in Germany in 1967.
From Songfacts
This was Pink Floyd’s second single. Their first was “Arnold Layne.”
Barrett did the slide guitar work on this song with a Zippo lighter (he used it as a slide, not to set the guitar on fire).
The original title was “Games For May.” They performed it live a few times before changing it.
This is an example of the psychedelic sound Pink Floyd was known for. Over the next few years, they tried to lose the psychedelic image because they wanted people to know there was much more to their music.
This was included on the 2001 Pink Floyd retrospective album, Echoes. The tracks flow seamlessly together.
The song was inspired in part by 15-year-old schoolgirl Emily Young, who was the daughter of Wayland Young, 2nd Baron Kennet. She recalled to Mojo:
“On Friday night at the Saints Hall, the regular band was the Pink Floyd Sound. I was more into R&B, so their dreamy hippie thing wasn’t exactly my cup of tea, but it was interesting. And the light show was wonderful, and I liked to get stoned and dance. After playing, we’d sit around on grey sofas and pass around joints. I was quite pretty and word got out that I was a lord’s daughter, and apparently the guys in the band called me the ‘psychedelic schoolgirl.'”
“See Emily Play” began life as a Syd Barrett song written for Pink Floyd’s concert-cum-happening Games For May at the Queen Elizabeth Hall on May 12, 1967. Emily missed the event but someone told her all about it. She recalled: “I thought, gosh, that’s nice, a song with my name, but I didn’t think it was about me. And I don’t think it was now because Syd and me didn’t have a love affair and he didn’t really know me. It could have been some other girl who played a part in his dream. It could have been Jenny, but Emily scanned better.”
See Emily Play
Emily tries but misunderstands, ah ooh She’s often inclined to borrow somebody’s dreams till tomorrow There is no other day Let’s try it another way
You’ll lose your mind and play Free games for May See Emily play
Soon after dark Emily cries, ah ooh Gazing through trees in sorrow hardly a sound till tomorrow There is no other day Let’s try it another way You’ll lose your mind and play
Free games for May See Emily play
Put on a gown that touches the ground, ah ooh Float on a river forever and ever, Emily (Emily)
There is no other day Let’s try it another way You’ll lose your mind and play Free games for May See Emily play
WordPress decided not to place this in the reader…so I’ll try reposting it. Sorry if you have already seen this one.
This week I’m going to feature songs that cover that certain thing we all need to survive…money…John Lennon might disagree.
As a bass player, it’s nice to hear songs like this where bass plays the main riff. I’m not a huge Pink Floyd fan but I do like some of their songs. Their 60s songs I like best but I grew up with this one.
Roger Waters put together the cash register tape loop that plays throughout the song. It also contains the sounds of tearing paper and bags of coins being thrown into an industrial food-mixing bowl. The intro was recorded by capturing the sounds of an old cash register on tape, and meticulously splicing and cutting the tape in a rhythmic pattern to make the “cash register loop” effect.
Like many of their songs, this was not released as a single in the UK, where singles were perceived as a sellout…but it was released as a single in Anerica in 1973.. It peaked at #13 in the Billboard 100 and #18 in Canada.
The lyrics contain a “no-no” word. “Bulls–t” was left in the original release, but their record company quickly put out a version with the word removed, which became known as the “Bull Blank” version.
From Songfacts
This song is about the bad things money can bring. Ironically, it made Pink Floyd lots of cash, as the album sold over 34 million copies.
This is often misinterpreted as a tribute to money. Many people thought the line “Money, it’s a gas,” meant they considered money a very good thing.
The song begins in an unusual 7/8 time signature, then during the guitar solo the song changes to 4/4, then returns to 7/8 and ends in 4/4 again. When Guitar World February 1993 asked Dave Gilmour where the famous time signature for “Money” came from, the Pink Floyd guitarist replied: “It’s Roger’s riff. Roger came in with the verses and lyrics for ‘Money’ more or less completed. And we just made up middle sections, guitar solos and all that stuff. We also invented some new riffs – we created a 4/4 progression for the guitar solo and made the poor saxophone player play in 7/4. It was my idea to break down and become dry and empty for the second chorus of the solo.”
Roger Waters is the only songwriter credited on this, but the lead vocal is by David Gilmour. Waters provided the basic music and lyrics, while the whole band created the instrumental jam of the song. Gilmour was the one overseeing time change and responsible the acclaimed guitar solo. Rick Wright and Nick Mason.
Many studio effects were used on this song. They were using a new 16-track recorder, which allowed them to layer sounds much easier, but complex studio techniques like this still took a long time to do in 1973, as there weren’t digital recorders and samplers available like we have today. If you wanted to copy and paste something, you had to do it the hard way – with a razor blade and splicing tape.
Bands like The Beatles had used tape loops, but never like this. The tape loop used on this was about 20 feet long, and if you’ve ever seen a reel-to-reel tape machine, you can imagine how hard it was to keep it playing. In order to get the right tension and continuously feed the machine, they set up the loop in a big circle using microphone stands to hold it up. It was fed through the tape machine and played throughout the song.
The album was engineered by famed British producer and studio genius Alan Parsons at Abbey Road Studios, where he also worked with The Beatles. Parsons later started his own band called The Alan Parsons Project and scored a hit in the ’80s with “Eye In The Sky.”
Speaking with Songfacts about the studio habits of The Beatles and Pink Floyd, Parsons said: “They both liked to use the studio to its fullest, and they were always looking for new effects and new sounds. That was the beauty of working with those guys: There were always new horizons to discover in sound.” >>
Along with “Us And Them,” this is one of two songs on the album to use a saxophone, which was played by Dick Parry. The band wanted to experiment with new sounds on these sessions.
As happens throughout Dark Side of the Moon, random voices come in at the end. Waters drew up flashcards with deep philosophical questions on them, then showed them to people around the studio and taped their answers. The ones they liked made the album. Among the people questioned: a doorman, a roadie, and Paul McCartney. Most contributions were not used, but McCartney’s guitarist at the time, Henry McCullough, made the final cut with his answer, “I don’t know; I was really drunk at the time.”
Due to a record company dispute, they had to re-record this for their 1981 greatest hits album, A Collection Of Great Dance Songs (the title is a joke. You can’t dance to Floyd). There are very subtle differences between this version and the original.
If you start the CD on the third roar of the MGM lion, this begins just as the film goes to color in The Wizard Of Oz.
A cultural difference in the song: the reference to the “football team.” In America, the sport is known as soccer.
There is a scene in The Wall where the main character (Pink) is a student in school, and the teacher catches him writing a poem instead of doing the work he was supposed to be doing. The teacher reads the poem out loud, and it is this song. He makes the student look like a fool and everyone in the classroom laughs at him. The teacher then tells him “It’s rubbish laddy, now get back to work!” It probably symbolizes the way that we are raised almost uniform-like throughout our entire lives, starting in school. This is a theme of the movie.
The line, “Money, so they say, is a root of all evil today” is a paraphrase from the New Testament – 1 Timothy 6:10: “For the love of money is a root of all kinds of evil.”
In 2002, a group called The Easy Star All-Stars recorded a reggae version of the album called Dub Side Of The Moon. On this song, the sounds of money were replaced by sounds of someone smoking from a water-based marijuana delivery device (OK, a bong).
A group called Reloaded, made up of former Guns N’ Roses members with Scott Weiland from The Stone Temple Pilots as lead singer, recorded this for the 2003 movie The Italian Job.
This was the first project for the group, which eventually changed its name to Velvet Revolver.
The cash register loop and bass line at the introduction to this song are used in a radio show that plays in the US, The Dave Ramsey Show. The show offers financial advice to struggling people, so the song ties in well. >>
In the documentary The Making of Dark Side of the Moon, it was revealed that Roger Waters wrote this in his garden, and the original demo version was described by him as being “Prissy and very English.” >>
In Quentin Tarantino’s 1992 film Reservoir Dogs, this song was originally intended to be used in a specific opening sequence. However, after hearing the song “Little Green Bag” by the George Baker Selection, Tarantino decided to use it instead because he it gave him an extreme sense of nostalgia. >>
Guitar World asked Gilmour if he was purposely trying to get away from just playing a 12 bar blues on guitar. He replied: “No, I just wanted to make a dramatic effect with the three solos. The first solo is ADT’d – Artificially Double Tracked. I think I did the first two solos on a Fender Stratocaster, but the last one was done on a different guitar – a Lewis, which was made by some guy in Vancouver. It had a whole two octaves on the neck, which meant I could get up to notes that I couldn’t play on a Stratocaster.”
Asked by Uncut in 2015 if there’s a song that reminds him of Roger Waters, David Gilmour replied: “‘Money.’ I’m not talking about the lyric. Just the quirky 7/8 time reminds me of Roger. It’s not a song I would have written. It points itself at Roger.”
Money
Money, get away Get a good job with good pay and you’re okay Money, it’s a gas Grab that cash with both hands and make a stash New car, caviar, four star daydream Think I’ll buy me a football team
Money, get back I’m all right Jack keep your hands off of my stack Money, it’s a hit Don’t give me that do goody good bullshit I’m in the high-fidelity first class traveling set And I think I need a Lear jet
Money, it’s a crime Share it fairly but don’t take a slice of my pie Money, so they say Is the root of all evil today But if you ask for a raise it’s no surprise that they’re Giving none away, away, away
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